The Arthur Rubinstein International Music Society We are honoured to present AN ORIGINAL CONCERT SERIES TO to marf the 10th anniversary of the ‘Maestros death
This series featuring renowned artists inaugurates the SEVENTH INTERNATIONAL PIANO MASTER COMPETITION
JOHN LILL - Gt. Britain • Tel Aviv Museum, Wednesday, March 25th 1992, 20:30
GERHARD OPPITZ - Germany F.R. Mann Auditorium, Thursday, March 26th 1992, 20:30
DMITRI BASHKIROV - Russia Tel Aviv Museum, Friday, March 27th 1992, 15:00
GALA CONCERT - THE RISHON LEZION SYMPHONY ORCHESTRA with JUSTUS FRANTZ (Germany) - Conductor and Solo-Pianist F.R. Mann Auditorium, Saturday, March 28th 1992, 20:30
JOAQUIN SORIANO - Spain • Tel Aviv Museum, Saturday, April 4th 1992, 20:30
HIROKO NAKAMURA - japan • Tel Aviv Museum, Saturday, April 11th 1992, 20:30
All proceeds to THE ARTHUR RUBINSTEIN INTERNATIONAL PIANO MASTER COMPETITION
ARTHUR RUBINSTEIN (28.1.1887 - 20.12.1982)
LUDWIG VAN BEETHOVEN (1770 ■ 1827) Piano Sonata No. 29 in B Hat major, Op. 106 ("Hammerklavier")
ROBERT SCHUMANN (1810 ■ 1856) Fantasia In C major, Op. 17
free traditional sonata form, it is full of rich polyphonic something to do. and which will be played fifty years and contrapuntal writing enveloped by bold modulations hence", Beethoven told Artaria, speaking of his B flat and key relationships. major Op. 106. In fact this work is not too grateful to The Scherzo intervenes as a point of repose between pianists, as the fingers are unmercifully twisted by a the weighty concentration of the first movement and of profusion of rich polyphonic writing. His letter to Ries, the Adagio which is to follow. Its main theme is clearly who was to print the work in London, reflects the related to the first theme of the preceding movement. In situation which accompanied the composition of this the Trio section this same theme is transformed into a “I have finished a Fantasia in three movements for which Clara and Beethoven are beautifully reflected in the first sonata: "I cannot send you the tempi because my grotesque melody. The movement is very witty and I sketched in all but the detail in June 1836. The first metronome is broken... The inaccurate copying is graceful and Beethoven himself said that it was "full of movement is, I think, the most passionate thing I have deep personal significance for the lovers, opens the first ever composed - a deep lament for you", Robert theme later enveloped by a phrase from the sixth ol probably due to the fact that I can no longer employ my whirlings like the wind". Schumann wrote to Clara in 1838. Although they were Beethoven's Opus 98 songs "To the distant beloved", own copyist... and may God help me! until the Archduke The Adagio is in sonata form and is the longest of his secretly engaged throughout the unhappy months when again a secret understanding with Clara. In this pathetic Rudolphe finds himself in a better position... the sonata slow movements, lasting some 20 minutes. Its length is and rhapsodic movement the exposition, development was written in distressful circumstances, for it is hard to in proportion to the breadth of its themes and it has been Schumann’s pen enshrined and recapitulation sections seem to flow freely into each compose almost entirely for the sake of earning one's said that it probes the depths of suffering. When the perhaps the most personal and deeply other ending with a Coda based on the declaration of daily bread...". publisher was about to print the sonata he received a Schumann's piano works. love from Beethoven's song. The title "Hammerklavier” is concerned not with letter from the composer containing only two notes to be It seems that the Fantasia was also written as part of The second movement, in Schumann's words, is "A character but with language. In a wave of anti- added to the beginning of the Adagio. "I confess I could Liszt's scheme for a monument to Beethoven’s memory h, with a slower middle section". It is Napoleonism. Beethoven wrote: “Instead of pianoforte, not help wondering if my dear old teacher did not lose his at Bonn. Schumann felt he could assist the subscription •rondo with Clara's falling notes worked Hammerklavier - this is to be understood clearly once mind... To send two more notes for such a tremendous fund with the work which he also dedicated to Liszt. He full of virtuoso and for all". It is one of Beethoven's greatest sonatas, work which had been revised so many times... but I was not only because of its length (almost 45 minutes) but greatly astonished when I discovered the effect of these ("Ruins". "Triumphal Arch" and "Starry Crown") and affixed an enigmatic quotation from Schlegel at the head corresponds to the prefatory lines of Schlegel, and is more because of its expressive, spiritual and intellectual two notes", he later wrote. of the score: "Throughout all the notes that sound in held throughout at low dynamic levels. Here the range. It has been nicknamed "The Great Beast" as well The Finale opens with a lengthy introduction in earth's fitful dream, one gentle note is there for the recapitulation follows without any development section. as "A Symphony For The Piano". improvisatory style, with great uncertainty and secret listener". The dedication to Liszt may be an The Coda brings forth a new surge of emotion and then The first movement offers a view of Beethoven having anticipation, hinting at unexpected tonalities and making explanation for the immense technical and expressive sinks back with a feeling of profound benediction. just received a new Broadwood piano as a present from deceptive starts. The movement proper is a fugue in demands of the work. the firm in England. He seems to demand from this new three voices carried out "with a certain freedom" instrument all it can give, including full and mighty cords, according to Beethoven's indication. It is a great ranging all over the keyboard, as well as the whole challenge for both player and listeners. Stravinsky said: bravura of the concert style. Although it is written in a "It has a 20th Century look about it. contemporary for GERHARD OPPITZ LUDWIG VAN BEETHOVEN (1770-1827) Diabelli Variations Op. 120
Fredric R. Mann Auditorium, Tel Aviv THURSDAY MARCH 26, 1992, 20:30 Beethoven is, without doubt, one of the most supposed to be his own, among some fifty influential and revolutionary composers. He freed composers in Austria, inviting each to contribute music from the traditional restrictions of 18th century a single variation to a composite work under the Classicism giving it new expanse and flexibility, as well title of "A Union of Artists of The Fatherland". It as bringing a varied richness of speech to every seems that Beethoven took up the simple melody as a challenge and wrote 33 variations, BEETHOVEN ■ Diabelli Variations, op. 120 instrument for which he wrote and especially for the piano, his most intimate means of expression. It has producing a formidable masterpiece that Diabelli even been said that Bach's "Well Tempered Clavier" hailed as a worthy successor of Bach's Piano Sonata in B liai Major, D 960 SCHUBERT and Beethoven's piano sonatas are the Old and New "Goldberg Variations" and published it as a Testaments of the piano, and that if all music were to separate work. German-born Gerhard Oppitz first appeared in public International Piano Master Competition (the first German perish and only these two great works to survive, a when he was 11 years of age. He played Mozart's Piano to do so). From that time on his career expanded very sufficient knowledge of the music of the 18th and 19th It has been rightly said that Beethoven's Diabelli Concerto in D Minor to an audience that included rapidly with concerts throughout Europe. Japan and the centuries could be obtained from them alone. Variations propose a summary and a microcosm Professor Paul Buck, who wanted him to join his piano USA. His first recording was produced in 1978, since of music's past as well as opening new doors class at the Stuttgart Hochschule fur Musik. In 1971, on when another 20 have been added to his discography. Beethoven's last major composition and masterpiece towards its future. Bach, Handel, Haydn, Mozart completion of his general studies, Oppitz became a full Oppitz was offered a professorship at the Munich time student at Stuttgart and three years later went on to Hochschule. Declining at the time, he took up the post in tor the piano, completed in 1823, is his *33 Variations and many others are beautifully reborn in the the Munich Hochschule where he completed his official 1981. on a Waltz by Diabelli, Op. 120" on which he seems to different variations. In tempo and texture they music education with master classes directed by Prof. He has performed 80 concerts annually since 1980, has have worked for at least four years. This work has cover almost every available mood and style and Hugo Steurer. played with the Philharmonic Orchestras of Israel, been the subject of various conflicting accounts. The the gradual expansion of the harmonic horizon is However, it was from the renowned Wilhelm Kempff that London. Berlin, and Vienna, appearing in the world's most accepted is that the publisher and composer, remarkable. Schumann called it "Beethoven's young Oppitz received his strongest impressions. They most prestigious music venues. Anton Diabelli, circulated a waltz-tune, testament - a farewell to the listener". first met in 1973, after which Oppitz went to Positano to Oppitz is mostly interested in the grand classical study Beethoven sonatas and concert pieces with cycles: the Beethoven and Mozart piano sonatas, the Kempff who was particularly impressed by the swiftness complete piano works of Brahms: presently he is and advanced musicality of his pupil. They had a lot in preparing the Schumann piano cycle. common: great musical intelligence, grasp of structure He loves roaming in the forests and woods where he and understanding of the connection between different feels music to be a living force. German music journals parts of a work of music. frequently carry articles about Gerhard Oppitz, the most In 1977. Gerhard Oppitz the Arthur Rubinstein "written-up" German pianist of his time.
CLAUDE DEBUSSY (1862 - 1918)
r X THE RISHON LEZION SYMPHONY ORCHESTRA Music Director: Noam Sheri f General Manager: Menahem Shai Conductor: Itai Talgam
Violin 1 Contrabass Trombone Yaron Prensky Shahar Zaitzov* Nitzan Har-Oz* Concertmaster Gnadi Litvin** Michael Charsonsky Eyal Schiloach Giorgy Osipen Shay Savir Associate Amir Massarik Concertmaster Bass Trombone Marc Harmatz Flute Shay Savir Rachel Dragobetzky Margalit Gafni* Galina Glusnkin Amy Brown** Tuba Idit Shulman Yechiam Peled*** Ariel Sassoon Janna Gandelman Dora Feineman Piccolo Harp Maria Batelman Amy Brown Ruth Maayani Tania Eskin Yechiam Peled Anatoly Nitbach Percussion Lena Tishin Oboe Leonid Reshko* Alex Porotzky Avi Ben-Yoseph* Gene Cipriani*’* Oriel Shahl*** Michael Tzukernik Violin II Michal Amit*** Andrei Michaeli* Librarian Principal English Horn MichalGolani Emma Grinapol** Michal Amit Moshe Geizel Personel Manager Andrei Tishin Clarinet David Hodorov Rina Gutkin**** Ilan Schul* Evgenia Liberson (Head of Wind Section) Inspector Ella Karolevich Ya’akov Yachnin Shanar Zaitzov Emma Milman Elena Lossos Bass Clarinet Asst. G. Director David Hodorov Michael Gurfinkel Sarah Levin Arcadi Melamed Piccolo Clarinet Production Manager Viola Michael Gurfinkel Dan Gafni Irit Livneh* Jan Spitkovsky** Bassoon Marketing Helena Appelman Susan Lanings* Rivka Ben-Basat Faya Elkutsky Sally-Ann Meriman’** Vered Gindi Alisa Ruderman Zipi Schory Yehudit Geizel Press & P.R. Susan Reichli-Gurevich Double-Bassoon Sari Attir Michael Rosenblum Zipi Schory Secretaries Cello Horn Ella Cohen Doron Toister* Eva Conti* Pnina Michael Michael Geldfandbein** Sara Della Posta’** Raz Cohen Alon Reuven*** Accountant Boris Mintz Alexander Scheider Osnat Lotan Hirsch Friedman Technical Crew ‘ Principal Boris Michanovsky Trumpet Asst. Principal Sharona Gilboa Doron Silashi’ Ovadya Natan Ilya Trost Peter Ivanov Machluf Zafrani P Pavel Nachemovich Leon Soloveitzik **** Principal Guest ______Z
PADRE ANTONIO SOLER (1729 - 1783)
CO MOMPOU (b. Magics" (Magic C JOHANN SEBASTIAN BACH (1685 - 1750) Partita No. 2 In C Minor, BWV 826
The aim and final end of all music should be none disregarding the vocal works that preceded it. The other than the glory of God. and the refreshment of Partitas came as a great surprise to the musical world the soul. If heed is not paid to this, it is no true music of the time. Never have such excellent compositions but a diabolical bawling and twanging". This for the piano been seen before. They are brilliant, well declaration by Bach reflects, more than anything sounding, expressive and most important, always else, his real feelings about the music he wrote. It was 'new'. In fact, with his talent for differentiation and not too much to say of him, as did Robert Schumann, striving after perfection. Bach succeeded in giving that "Music owes as much to Bach as religion to its every form, included in these works, what appears to Founder". For Bach can be regarded as a two-sided be its ultimate, most perfect shape. mirror in respect to the evolution of music: one face One of Bach's most original contributions to the looked back towards the past, in which Bach utilized keyboard suite (as he named the Partitas) was the the styles and forms of his predecessors and brought development of the opening movement. Almost all of them to the highest peak of artistic and technical them, have massive and brilliant first movements. In development; while the other looked toward the many of them Bach succeeded in transferring to the future, opening windows from which the new paths keyboard not only the grandeur but also the specific that music was to take were to be seen. effects of contemporary orchestra style. CHOPIN - 24 Preludes, op. 28 After 1720 almost all of Bach’s keyboard music was The Partita in C Minor (BWV 826) is one of the most enveloped in didactic and pedagogic intonations. He eloquent hommages that Bach could offer to French even called many of his published works "Clavier- music.The Sinfonia opens, in the French style, with a Ubung" (Keyboard Exercises). The "Well Tempered short overture, continues with an expressive Hiroko Nakamura was born in Tokyo and is the most Apart from playing regularly for the radio and Clavier is, in fact, the greatest pedagogical work in recitative that reminds one of the ancient oboe, and famous pianist in Japan. She began to play the piano television, she is well known as an author of non ends with a powerful two-part fugue. The Allemande, at the age of three and at fifteen was the youngest fiction, also as a critic and television personality. Her the history of keyboard technique and has always competitor ever to win the prestigious Japan Music first book, "The Tchaikovsky Concours", won the been a fundamental part of the education of Courante and Sarabande clearly reflect the style of Competition. The following year sne made her debut coveted Ohya Prize for non-fiction (Japanese practically every pianist in the world. It contains Couperin with the characteristic Bach tint. In the playing Beethoven's Piano Concerto No.1 with the equivalent of America's Pullitzer Prize) and sold over exercises for developing techniques not only of Rondeau and Cappricio Bach seems to amuse himself Tokyo Philharmonic Orchestra. In that same year, 250,000 copies. The book tells of her experiences as passing beautiful leaps from one hand to the other. It Japan's most renowned orchestra invited her on her a juror for the Tchaikovsky Competition (Moscow. playing, but also of composition and expression. first world tour as soloist. Since then she has given 1982 and 1986). Her second book. "Savages Called The first part of the Clavier-Ubung contained six piano was Bernard Shaw who once declared that "Bach more than 3000 concerts around the globe, an Pianists" has been received with critical acclaim. Partitas, published singly at first. When the series of belongs not to the past, but to the future - perhaps to average of over 100 annually. Nakamura has adjudicated many Competitions six was completed Bach called it his Opus Primum, the near future". Nakamura has toured almost all the continents playing including the Paloma O'Shea, Spain; Vianna Motta, with the greatest orchestras and conductors, and has Portugal; Gina Bachauer, USA; Busoni. Italy; Leeds, made over thirty recordings, all best sellers. Her UK; and the Chopin of Warsaw. She is serving as a Chopin Concerto No. 1 with the London Symphony juror for the 7th Arthur Rubinstein International Piano Orchestra sold over one hundred thousand copies in Master Competition. Tel Aviv, and also for the Sydney Piano Competition, Australia (1992).